professional autobiography or cover letter

professional development, in preparation for electronic portfolio (E-folio) professional autobiography or cover letter(one page) -This can be in draft form but must be professionally attractive -An effort in writing mechanics must be demonstrated -An effort in following guidelines given must be demonstrated

How does the editing contribute to this film?

1. How does the editing contribute to this film? Does this film mostly use continuity editing, discontinuity editing, or a mixture of both? Is the editing mainly seamless and nearly unnoticeable, or does it call attention to itself? Why do you think the filmmakers made these choices? Give examples of specific editing techniques the filmmakers chose. 2. Select a pivotal scene and identify those moments when the sound creates emphasis by accentuating and strengthening the visual image. What are the specific sources of sound in that scene? What types of sounds that are used in the scene? 3. In the film overall, how is music used? Is it used in a dominate way to manipulate the audience’s emotions, or is it more subtle or non-existent? Does the use of music in this film seem appropriate to the story? Does this film use silence expressively? Give a specific example of how music was used in the film.

How does this resonate with your own life?

Page 654 of your textbook offers a poem called “God Says Yes To Me.” Summarize the poem and its main points. How does this resonate with your own life? Offer some critical thoughts. GOD SAYS YES TO ME KAYLIN HAUGHT (1995) I asked God if it was okay to be melodramatic and she said yes I asked her if it was okay to be short and she said it sure is I asked her if I could wear nail polish or not wear nail polish and she said honey she calls me that sometimes she said you can do just exactly what you want to Thanks God I said And is it even okay if I don’t paragraph my letters Sweetcakes God said who knows where she picked that up what I’m telling you is Yes Yes Yes Pg. 645 book： More recently, feminist Mormon women have taken to the Internet as activists calling for social change. Some of the move active websites include Feminist Mormon Housewives, Exponent, and Women Advocating for Voice and Equality (WAVE). Through their activism, these women seek to challenge the church’s stances on feminist issues and reclaim the power they believe women held in earlier generations of Mormonism. The reading “I’m a Mormon Feminist” by Jessica Finnigan and Nancy Ross offers an overview of Mormon women coming together online. Within almost every religious tradition, women and LGBTQ people are resisting discrimination and injustice, using their religious faith to challenge the tenets of religion that marginalize, exclude, and dehumanize others. Finally, for many women and LGBTQ people, religion provides a place in which they find a sense of worth as a valued person. The poem “God Says Yes to Me” by Kaylin Haught illustrates an accepting, loving God that has the potential to empower women. In the twenty-first century, many women are participating in revivals of ancient woman-centered religions and have become empowered through the revaluing of the feminine implicit in this spirituality. Wicca, or witchcraft (although not the witches we popularly think of at Halloween), is a Goddess- and nature-oriented religion whose origins predate both Judaism and Christianity. Current Wiccan practice involves the celebration of the feminine, connection with nature, and the practice of healing. As Wiccan practitioner Starhawk suggests, witchcraft encourages women to be strong, confident, and independent and to love the Goddess, the earth, and other human beings. This notion of witchcraft is very different from the cultural norms associated with witches that are propagated in society. Indigenous cultures have also offered examples of valuing queer and gender diverse people. Before colonization, Two-Spirit people were accepted and often revered among many native peoples as counselors, storytellers, and healers. Two-Spirit identities are discussed in the reading “Native American Men-Women, Lesbians, Two-Spirit” by Sabine Lang that appeared in Chapter 3. Colonization brought homophobia and transphobia, and Two-Spirit people were often pushed to the margins as colonizers’ heteronormative beliefs and practices influenced native cultures. Now, however, there are efforts to recover the place of Two-Spirit people in native communities. GENDER AND GOD-LANGUAGE Many theorists contend that one of the most powerful influences in molding gender and maintaining gender oppression is language. The words that religions use to talk about the divine are especially powerful in shaping the ways we think about men and women. Any language we use to talk about deities is of necessity metaphorical. We create images that can only partially represent the full reality of this concept. Unfortunately, those images sometimes become understood in literal, rather than metaphorical, ways. So, instead of thinking, for example, of God as Father, we may come to think God is Father. Throughout Jewish and Christian history, the preponderance of images for God have been masculine—Father, King, Lord, Judge, Master—and the effect has been that many people imagine God as male even though, intellectually, they might know this is not true. God is often imagined as white too. In ancient times, the image of the Great Mother Goddess was primary in many cultures, but as war-centered patriarchal cultures developed, the life-giving Goddess had to be defeated by the warring God. In ancient Babylonian mythology, Tiamat was the Great Mother, but she was eventually slaughtered by her son Marduk, the god of war. Yahweh, the god of the ancient Israelites, was originally a consort of the Canaanite Mother Goddess, but, as the Israelites moved toward a patriarchal monotheism (belief in just one God), Yahweh became prominent as the Great Father God, and worship of the Goddess was harshly condemned by Yahweh’s priests. The prominence of a single masculine image of deity then became reflected in the exclusion of women from the priesthood and eventually from the concept of Israel itself. In response to the hegemony of masculine images of God, feminist theologians have constructed alternative feminine images of deity. Some theologians, such as Virginia Mollenkott, have returned to the Jewish and Christian testaments to point out the existence of feminine images within scripture. Other theologians, such as Sallie McFague, have challenged people to develop new models of God such as God as mother, God as lover, and God as companion. And yet other women have returned to the ancient images of the Goddess herself. Others have reimagined God as transgender—the One who transcends, transgresses, transforms, crosses over. The political nature of the decision to challenge normative God-language does not go unnoticed by traditionalists wishing to cling tomale images. The Southern Baptist Convention issued a statement declaring that God is not like a father, but God is Father. And a group of mainline churchwomen created a furor within their denominations when at a conference they chose to call God “Sophia,” a biblical, but feminine, name for deity.